Art and Visual Perception, Second Edition: A Psychology of the Creative Eye"In The Ego and the Id Freud argued that a cogent thought process, to say nothing of conscious intellectual work, could not exist amidst the unruliness of visual experience. Over the last half century in a sequence of landmark books, Rudolf Arnheim has not only shown us how wrong that is, he has parsed the grammar of form with uncanny acuity and taught us how to read it."—Jonathan Fineberg, author of Art since 1940: Strategies of Being "It is a book of first-rate importance, and many aspects of the psychology of art are for the first time given a scientific basis. It is sure to have a far-reaching influence, and artists themselves would benefit from reading it."—Sir Herbert Read |
From inside the book
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Contents
II | 1 |
III | 10 |
IV | 16 |
V | 18 |
VI | 19 |
VII | 20 |
VIII | 23 |
IX | 26 |
LXXII | 239 |
LXXIII | 241 |
LXXIV | 245 |
LXXV | 248 |
LXXVI | 253 |
LXXVII | 258 |
LXXVIII | 261 |
LXXIX | 269 |
X | 29 |
XI | 30 |
XII | 33 |
XIII | 36 |
XIV | 37 |
XV | 42 |
XVI | 43 |
XVII | 44 |
XVIII | 47 |
XIX | 48 |
XX | 51 |
XXI | 55 |
XXII | 63 |
XXIII | 66 |
XXIV | 67 |
XXV | 69 |
XXVI | 73 |
XXVII | 74 |
XXVIII | 76 |
XXIX | 79 |
XXX | 88 |
XXXI | 92 |
XXXII | 96 |
XXXIII | 98 |
XXXIV | 103 |
XXXV | 106 |
XXXVI | 112 |
XXXVII | 116 |
XXXVIII | 120 |
XXXIX | 123 |
XL | 127 |
XLI | 130 |
XLII | 134 |
XLIII | 136 |
XLIV | 139 |
XLV | 144 |
XLVI | 152 |
XLVII | 156 |
XLVIII | 162 |
XLIX | 163 |
L | 164 |
LI | 167 |
LII | 169 |
LIII | 171 |
LIV | 174 |
LV | 179 |
LVI | 182 |
LVII | 187 |
LVIII | 191 |
LIX | 195 |
LX | 197 |
LXI | 199 |
LXII | 203 |
LXIII | 208 |
LXIV | 209 |
LXV | 215 |
LXVI | 218 |
LXVII | 219 |
LXVIII | 223 |
LXIX | 227 |
LXX | 233 |
LXXI | 234 |
LXXX | 271 |
LXXXI | 275 |
LXXXII | 280 |
LXXXIII | 283 |
LXXXIV | 285 |
LXXXV | 287 |
LXXXVI | 294 |
LXXXVII | 297 |
LXXXVIII | 298 |
LXXXIX | 303 |
XC | 305 |
XCI | 309 |
XCII | 311 |
XCIII | 315 |
XCIV | 320 |
XCV | 324 |
XCVI | 330 |
XCVII | 332 |
XCVIII | 337 |
XCIX | 339 |
C | 341 |
CI | 342 |
CII | 344 |
CIII | 346 |
CIV | 350 |
CV | 353 |
CVI | 357 |
CVII | 362 |
CVIII | 364 |
CIX | 368 |
CX | 369 |
CXI | 372 |
CXIII | 375 |
CXIV | 378 |
CXV | 382 |
CXVI | 384 |
CXVII | 387 |
CXVIII | 392 |
CXIX | 394 |
CXX | 398 |
CXXI | 403 |
CXXII | 406 |
CXXIII | 410 |
CXXIV | 412 |
CXXV | 416 |
CXXVI | 419 |
CXXVII | 423 |
CXXVIII | 424 |
CXXIX | 428 |
CXXX | 432 |
CXXXI | 434 |
CXXXII | 437 |
CXXXIII | 440 |
CXXXIV | 444 |
CXXXV | 445 |
CXXXVI | 449 |
CXXXVII | 454 |
CXXXVIII | 457 |
CXXXIX | 463 |
487 | |
503 | |
Other editions - View all
Art and Visual Perception: A Psychology of the Creative Eye Rudolf Arnheim No preview available - 1974 |
Common terms and phrases
angle appear Arnold Schönberg artist balance blue body brightness central perspective child circle color complex composition contour convergence created cubist dancer dark deviation dimension direction disk distance drawing dynamic elements example experience expression face factors figure-ground film forces frontal plane geometrical gestalt psychology Goethe gradient green ground Heinrich Wölfflin Henry Moore horizontal hues human figure illumination kinesthetic light look Max Wertheimer means mind motion move movement nature oblique observer organization orientation overlapping painter painting particular pattern perceived perception physical Picasso pictorial picture principle produce projection qualities rectangle relation Rembrandt representation represented retina sculpture seen sense sequence shadow shape similar simple simplest simplicity space spatial square stage stroboscopic surface symmetry tension things three-dimensional tilted tion triangle two-dimensional vanishing point vertical viewer visual concept visual field visual objects visual perception whereas whole yellow